Pattern Recognition, currently on view at Brooklyn’s Museum of Contemporary African Diasporan Arts, focuses primarily on the paradox of explaining abstract painting. Though designed as a straightforward, contemporary group show featuring new work from established artists, Pattern Recognition must be viewed within the context of a museum whose focus is on community dialogue and education. The hand of Dexter Wimberly, the independent curator behind the[…..]
In Long Ago and Not True Anyway at Waterside Contemporary, curator Pierre d’Alancaisez explores a kind of history that exists beyond the dry material of archives, records, and established national narratives. Instead, in this small London gallery nearly hidden around a corner among Islington’s high-density residential buildings, this exhibition’s artists and artworks blur the borders between uncertain subjective experience and the history it inhabits. Taking[…..]
As part of our ongoing partnership with Beautiful/Decay, today we bring you an article about the work of Brooklyn-based Jeffery Gibson, who explores his Choctaw and Cherokee background in a solo exhibition at Shoshana Wayne Gallery through October 26. Author Danny Olda notes, “Gibson inserts himself and his heritage into art history: by […] smart mixing and remixing.” This article was originally published on September 11,[…..]
If you’re at all interested in seeing Wisconessee, Duncan R. Anderson and Daniel Bruttig’s semi-collaborative two man show at Kasia Kay Projects, I can tell you right now there’s a good chance you’ve already seen it. Typically, I’m not one to write a negative review for the sake of teeing off on artists who are just trying to get some work out there. But this[…..]
Two shows at Paula Cooper—Sol LeWitt: Wall Drawing 564 and Charles Gaines: Notes on Social Justice—knowingly nod at each other from their respective spaces across West Twenty-First Street. Wall Drawing 564: Complex forms with color ink washes superimposed (1988) holds court in Cooper’s large, dramatic exhibition hall surrounded by roughly contemporaneous structures and works on paper, and the immersive drawing exhibits LeWitt’s sustained interest in the grid[…..]
As part of our ongoing partnership with KQED Arts, today we bring you a thoughtful consideration of Levi’s Station to Station project. Author Christian L. Frock notes, “Though it seems unlikely that corporate benefactors will support politically potent, radical, or controversial artworks, perhaps the support leveraged by these popular and populist ‘public art’ opportunities will allow artists to engage in work that challenges us to think[…..]
The title of El Museo del Barrio’s biennial exhibit Here Is Where We Jump refers to one of Aesop’s Fables, “The Braggart.” In the tale, a man boasts of an extraordinary jump he once made in Rhodes. He claims witnesses will attest to the jump if the listeners ever visit his home country. Eventually, someone challenges the man to reproduce the jump, saying, “Jump here, jump now.[…..]
